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Van Halen vocalist David Lee Roth says it all on the second song of the band’s third album – and third consecutive smash in less than three years time. “Everybody wants some!,” he declares before immediately querying, “Baby, how ‘bout, you?’ Roth and the rest of Van Halen already knew the answer. The quartet further confirmed its status as America’s leading rock band and principal party starters on Women and Children First while heading in harder, heavier directions with thrilling songs that Rolling Stone scribe David Fricke rightly deemed “works of high-volume art.” Mastered from the original analog tapes, Mobile Fidelity’s numbered-edition hybrid SACD of the triple-platinum effort ensures demand for the 1980 record has never been stronger.
Track Listing
And the Cradle Will Rock…
Everybody Wants Some!!
Fools
Romeo’s Delight
Tora! Tora!
Loss of Control
Take Your Whiskey Home
Could This Be Magic?
In a Simple Rhyme
Music Vinyl LP's
Billy Joel – An Innocent Man – MoFi SACD
Infectious Doo-Wop, Carefree Soul, Harmonious Pop A Testament To Music Of Joel's Childhood
After making The Nylon Curtain, Billy Joel felt the need to exhale and get back to the carefree music of his childhood. He also met supermodel Christie Brinkley, who brought serious degrees of levity and romance to his world. In love, relaxed, and out to have fun, the singer crafted An Innocent Man, arguably the most easygoing and pleasing album of his career. Featuring four Top 40 pop singles and the same number of Top 5 Adult Contemporary hits to grace the Billboard charts, the record remains a commercial staple.
Bob Dylan – Good As I Been To You – MOBILE FIDELITY SACD
A Visionary Survey of American Music and its Vast Landscapes: Tours Swing, Blues, Country, Folk, and Vaudeville En Route to Becoming a Roots-Rock Landmark
Bob Dylan’s Love and Theft is a visionary train ride through the vast American landscape and all its hills, valleys, mountains, river towns, and urban and rural settlements. As they burrow into villages and barrel across trestle bridges, the 2001 record’s songs introduce us to outlaws, outliers, gamblers, brawlers, tricksters, bootleggers, and scoundrels. It is, in effect, a commanding survey of and plunge into American music. Named the best album of the year by Rolling Stone and the Village Voice‘s Pazz & Jop Critics Poll, anointed the second-best album of the decade by Newsweek, and later declared the 385th Greatest Album of All Time by Rolling Stone, Love and Theft remains the Nobel Laureate’s finest effort since 1975’s Blood on the Tracks – and an extension of the jesting, imagery, and free-form looseness present on his seminal 1960s works. Now, it possess knock-out sound.
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